Showing posts with label Ninja Tune. Show all posts
Showing posts with label Ninja Tune. Show all posts

Sunday, October 3, 2021

CULTCHA Clash Outer-National Record Review: The Bug - Fire (Ninja Tune - ZEN 275)

 

CULTCHA Clash Outer National Record Review:

The Bug - Fire

(Ninja Tune - ZEN 275)


Reviewed by Jon "Selecta J-Cut" Soldanels


The Bug - Fire (Ninja Tune - ZEN 275)


Once again, I've continued my behavior of being a procrastinator. It's a little late to get to this one, been rocking the digital release since August 27 and I received my vinyl copy several weeks ago. This album has already met the ears of many critics, who have responded with resounding approval, so this will really be an act of preaching to the choir in hopes of reaching a few new, lost souls in the process. 

The Bug aka Kevin Richard Martin, for the past few decades, has produced some of the top quality dub and dancehall abstractions (if any of his material is considered to be "dubstep" then the emphasis is certainly on Dub, although the description of his sonic output could hardly be fit into the confines of any genre). If you missed it, check out the artist profile CULTCHA Clash Outer-National Artist Profile: Kevin Richard Martin aka The Bug for a discographical, "potted history," as Martin referred to it. 

Upon hearing of this album, I assumed that it would live up to it's name. After listening to it, even expecting that, I'm still impressed. Martin has elevated the bar, once again. As an aspiring producer, this is the level of work that I would create if I could, and would definitely feel a major sense of accomplishment for creating. 

The teaser tune, which came out a month or so before the album, "Clash," was indicative of the gravity to be expected from this release; sparked by Logan's hardcore lyrical flow, kindled by the producer's dirty-grime-dub-dancehall style which has obviously taken another evolutionary step, on this one, and it's blazing! 




The bass is integral, per usual, although the atmospheric elements are ever present. Tempos vary from ambient pulsations to thumping, four to the floor, club-bangers. Something funny, to me, after reading other reviews and articles on The Bug from some 'dance music' writers, 140 BPM has been used as an example of the tempo of a song like "Poison Dart" (from 2008's phenomenal London Zoo on Ninja Tune), which to me, registers at 70 (even when I listen to d'n'b I tend to nod my head in half-time)... there's enough tunes on this LP that could be perceived either way, regardless, the rhythms rock the house. 

Equally as important as the amazing soundscape, the diverse array of lyricists give this conceptualized work a sense of urgency and intensity. There's not a single instrumental track on the album, which leaves me hoping for a dub version in the future, but that's just wishful thinking. 

Martin encouraged the artists to "write about what vexed them on a daily basis" (The Guardian interview with Kevin Martin, September 1, 2021), to outstanding result. It sounds like the culmination of the combined psyche of humanity in it's entirety after two years of pandemic fueled fear, coupled with environmental catastrophe, economic collapse, a constant barrage of propaganda and misinformation, paranoia inducing surveillance state and a diminishing distinction of what reality even is... and you can feel it in your spine.

The apocalyptic tale is set off by 2019 TS Elliot Prize and 2020 Ondaatje Prize recipient, member of King Midas Sound and frequent collaborator, Roger Robinson. "The Fourth Year," a dark and dystopian spoken word of an age of total isolation, where robots deliver all of the food, the only human contact is through a screen and non-vaccination is grounds for termination. The pulsing synths and subtle percussive sounds give one the feeling of taking shelter during a heavy rain.





Flow Dan, another regular collaborator of Martin's, returns on three tracks. His London-style, Yardie dialect and rapid-fire spitting shine on all of them. "Pressure" hits hard with relentless, resonant sub as it's heartbeat, animated into life by lyrical fury and filthy synth stabs. A hard hat may be necessary when "Hammer" hits, it may be concussive. "Bomb" is his final appearance on the album and his lyrics, once more, do justice to Martin's unique creations.

My personal favorite is "War" featuring Nazamba. This tune is raw, digital, dub poetry. His gravelly voice brings the mighty Prince Far I to my mind. Lyrically, pure righteous rage flows like lava erupted in the heart of Babylon. "Inna dis ya war... ideological war... and it's a chemical war... and it's a global war... a technological war..." dread times, indeed.




"Vexed" features Moor Mother, who Martin collaborated with on 2019's Wrecked LP by Zonal. Her abstract flow, intense emotion and raw delivery could wreck any track, this one's another banger.


The U.K.'s Grime scene is represented by Manga Saint Hilare, whose "High Rise" and "Bang" remind me why I've been a fan of British MCs since the early nineties, when I searched for Gunshot or Hardnoise 12"s in Arizona record store bins. 

Grime is just another branch of the Hip-Hop tree, to me, and one that is well in touch with its West Indian roots. An example of this is Logan, who's second album cut is the defiant, "Fuck Off." 

Even the cute, Tik-Tok generation themed, "How Bout Dat," featuring FFSYTHO (For Fucks Sake Y Tho) goes hard as a brick wall, cash it ou'side! 

Irah brings the wicked raggamuffin flow to "Demon," riding a relentless, bubbling, maniacal dancehall riddim.





U.K. Dancehall stalwart, one-time Guinness World Record holder for fastest rapper, and occasional The Bug collaborator, Daddy Freddy, is featured on "Ganja Baby," a different mix of which was released by Acid Ragga in 2014. This version is infectious and slightly exotic sounding, with a message that I can get behind.

Roger Robinson closes it out on a somber note, written about the tragic Grenfell Tower Fire (June 14, 2017), that killed 72 people and injured 70 more, "The Missing" conjures images of that day and invokes the panic, pain and peril felt by it's victims. Robinson's delivery is reminiscent of Linton Kwesi Johnson, certainly an evolution of dub poetry aesthetic, poignant and relevant lyrically, coupled with The Bug's out of this world, textural atmosphere of sound, a powerful finale to a fantastic album. 

The Bug is a well known name across the globe, but we are sometimes slow to catch on on this side of the Atlantic. Obviously, there is an existing fanbase, amongst which are surely some influential people, as is made evident by the appearance of "Fuck You" featuring Warrior Queen (from 2014's Angels & Devils, on Ninja Tune) at the end of episode 9, season 4 of the hit series, Orange Is The New Black. His recently work will not only hit the hardcore heads, but will bring even more mainstream recognition and commercial success (he's just worked with Trent Reznor on production for the latest Halsey album, If I Can't Have Love, I Want Power). 

Get Fire from: Bandcamp or Ninja Tune

Also check out the mix-show below.

BBC: Freak Zone Playlist by The Bug


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Friday, June 25, 2021

CULTCHA Clash Outer National - Artist Profile: Kevin Richard Martin aka The Bug

CULTCHA Clash Outer National - Artist Profile:

Kevin Richard Martin aka The Bug 

By Jon "Selecta J-Cut" Soldanels




All images and recordings belong to the artist and / or labels, used for promotional purposes.

For optimal functionality of links, view on browser rather than mobile.


This special feature puts a spotlight on the discography of the exceptionally talented producer, musician, writer, label owner and more... Kevin Richard Martin, also known as The Bug. His current Double LP release, Return To Solaris (Phantom Limb) is Kevin's recreation of the 1972 soundtrack to the award winning Russian science fiction film, Tarkovsky's Solaris, originally scored by Eduard Artemyev. The release date is June 25.












This will only be a summarized glimpse into this visionary noise makers many projects and collaborative efforts, which he's been involved with since the early nineties, beginning with industrial / hardcore / jazz fusion band, God, in which he is credited for production, samples, vocals and tenor sax. 




I was not familiar with the band at the time (not until quite recently, in fact), but I was into some of the artists who were fans, or even collaborated with them, like John Zorn, J.G.Thirlwell, Bill Laswell and Ministry. His bandmate, Justin K. Broadrick, previously played in Napalm Death and Head Of David, as well as was currently involved with Godflesh. Broadrick and Martin's kinship for the concoction of extreme sonic assaults has resulted in collaborative endeavors between the two that still continue, today.
 




On a personal note, the early nineties was a time of great musical discovery for me (as was the mid to late eighties). By the end of high school, my "playlist" included Coil, Public Enemy, Meat Beat Manifesto, Lee "Scratch" Perry and Big Black; not as eclectic as I thought that I was, but still not a bad range for a teenager from the suburbs of the midwest. My musical diversity was, in many ways, a reaction to and a rebellion against the conservatism and backwards attitudes that were often present there (of course that isn't representative of the whole population). When I moved to Arizona in 1990, the grunge thing really got played out, here, and most of the "industrial" crowd that I had been hanging out with were listening to techno; which was cool, but the rave scene got me burnt out on higher tempos (I was always a little partial to dub and funk grooves, but I love thrash, too, diversity is key). Anyway, the point that I turned 21 I had started djing but wasn't super-skillful yet (not that I really am now!) but I was learning. I was buying pretty much all vinyl and playing at hip-hop and reggae clubs, so the music that I bought at that time was mostly dancehall. I got so deeply into reggae at that time that I virtually ignored alternative music (besides the occasional release from artists who I had grown up listening to or an occasional trip-hop release), and electronic music was virtually off of my radar if it wasn't a Jamaican digital riddim, or a Mad Professor or Adrian Sherwood production that made it's way into my collection.


Had I been more technically adept on the wheels of steel I would have dove deeper into the more experimental hip-hop sounds of the time, but I was struggling to juggle dancehall versions and boom-bap-hip-hop, still, occasional gathering the nerve to mix in a Portishead or Massive Attack record. Plus, vinyl was expensive and becoming scarce as CDs dominated the era. That's why I only peripherally knew of Martin's illbient, industrial hip-hop noisemaking project, Techno Animal at the time. The partnership with former Napalm Death guitarist Justin K . Broadrick began with his work with God. Multiple albums and singles were released from 1991 to 2001 by Techno Animal, including collaborations with Company Flow / R.T.J. member El-P and Dälek. The duo concurrently worked as free-jazz / industrial project, ICE, releasing two LP's and several singles, further incorporating hip-hop aesthetic into the sound.








In 1995, Martin compiled the amazing, Macro Dub Infection - Volume One, for Virgin. The collection spanned the variations and abstractions of dub in the realm of experimental, electronic music.


Various Artists - Macro Dub Infection (1995 Virgin)


The subsequent, Macro Dub Infections Volume Two came out in 1996 on Virgin, also compiled by Martin.





The Sidewinder, another Martin / Broadrick project which took them to new levels of distorted rhythm, released the album, Colonized, on Mille Plateaux in 1996 and their Implant EP in 1997 on Lo Fibre.




The Curse Of The Golden Vampire formed as a collaboration between Martin / Broadrick and Alek Empire, bringing hardcore breakbeats on their 1998 self-titled album on Digital Hardcore Recordings.

The moniker would be used again on the 2003 Ipecac Recordings album, Mass Destruction.








Eraser is Martin / Broadrick, once again, on the drum 'n' bass tip. The single, Overdrive / Overdose, was released by Position Chrome in 2000. 









The Bug debuted on WordSound in 1997 with the full length, Tapping The Conversation, a self described "audio reinterpretation of Francis Ford Coppola's Thriller, 'The Conversation'" which involved Martin and DJ Vadim.



Martin would continue to release a string of singles on labels FatCat Records, Morpheus and Razor X before releasing 2003's Pressure, on Rephlex / Klein Records (rereleased digitally in 2020 on the Pressure label, https://thebugmusic.bandcamp.com/album/pressure-3). Inspired by the current dancehall that Kevin was hearing in the U.K., this one emulated those vibes and 'riddims,' featuring top shotta deejays, pushing the boundaries and incorporating jagged, cutting edge, electronic noise to the mix.





The Bug sound evolved with each oncoming release on labels like Tigerbeat6 and Shockout, engaging characteristics of dancehall reggae, (trip)hip-hop, grime, techno and digital noise. The tunes were voiced by dancehall veterans and up-and-comers, like Cutty Ranks, Daddy Freddy, Wayne Lonesome and Warrior Queen. 





In 2005, he worked alongside punk legends, Mark Stewart and Keith Levine on the Edit LP for Crippled Dick Hot Wax. 





Martin used the alias, Pressure, for the 2005 Hyperdub single, Money Honey, with vocals by Warrior Queen. As The Bug featuring Warrior Queen, the relentlessly hardcore 7" single, Dem A Bomb We, came out on Ladybug Records.


2006's Killing Sound LP was a collaboration with The Rootsman, released as Razor X Productions on Richard James aka Aphex Twin's label, Rephlex. 





In 2007, Hyperdub released dubstep killer, Skeng, which murdered on the sound system with it's sparse, flanging sub and cracking snare and bad-man lyrical onslaught from Flow Dan and Killa P. That same year, on Ninja Tune, the Jah War single dropped, featuring Flow Dan providing the lyric licking.






The following year on Ninja Tune, he released the crucial, London Zoo. A genuine masterpiece in futuristic dub, grime and dancehall.






This was around the time that The Bug first appeared on my radar when a friend shared "Poison Dart" on social media (see also, the Poison Dart single). Warrior Queen spits murderous lyrics in a hardcore, raggamuffin, rude gyal style over a wicked electronic riddim with pure-fire, dub-wise production, lightyears beyond most of his contemporaries in the field of dub-step. This digital dancehall cut was way more exciting than much of the mainstream reggae that was coming out at the time, there were plenty of hits but few as adventurous and ground-shaking as this.  





The rest of the album is equally as impressive, and well worth the cost of an import three vinyl set, in deluxe fold out jacket. Sonically, it varies from ambient drones to industrial drum sounds syncopated to bashment party inducing, syncopated patterns and tempos. The lyrical guests vary from legendary toaster, Tippa Irie (who's "Angry" sets off the mood and demeanor of the album), Ricky Ranking and some of the top yardy-style emcees of the U.K's grime scene, Flow Dan and Killa P as well as the late, neo-dub-poet, The Space Ape, who's "Fuckaz" is one of the hardest tracks on the album. 


"You And Me" features Roger Robinson, the 2019 TS Elliot Poetry Prize winning writer, whom Martin had previously worked with on Techno Animal's Dead Man's Curse (2001 Matador) as well as on Pressure (2003 Rephlex), and would continue to work with as King Midas Sound.





Cult Of The 13th Hour is an alias used by Martin and Stephen Samuel Gordon aka The Space Ape, the single release, Wickedness, was released on Soul Jazz in 2008.



The single, Ganja / Flying, with frequent collaborators Killa P, Flow Dan and Ricky Ranking, came out on Ninja Tune that year, as well.



King Midas Sound - Waiting For You (2009 Hyperdub)



The first King Midas Sound LP, Waiting For You..., with Kiki Hitomi as the third member of the group, dropped in 2009 on Hyperdub. It was followed by several singles, including Dub Heavy - Hearts & Ghosts. In 2012 by a remix LP, Without You followed, with reconstructed tracks by Flying Lotus, Kode9 & The Space Ape, Kuedo and others.










In 2010, Run came out on Swamp 81, which featured Flow Dan and Hitomi, on respective tracks.




Various Artists - Ninja Tune XX Volume 3 (2010 Ninja Tune)


"Tune In (Version)" was featured on the Ninja Tune compilation,  Ninja Tune XX Volume 3, which came out in 2010.

 





The 2011 Future Noise 7" single, Chidlren Of The Revolution / Nothing Is Sacred, by Mark Stewart finds the two collaborating, once again, on a terrific Marc Bolan /T. Rex cover.




The alias, Black Chow, was used for 2011's Jahtari EP, Wonderland, which combined the talents of Martin and Kiki Hitomi with Pupajim for a lo-fi dub adventure.





The 2012 Ninja Tune 2 x 12" set, Infected, includes remixes of "Skeng" (by Autechre) and "Poison Dart" (by Scratcha DVA), as well as "Catch A Fire" featuring Hitomi, which utilizes the "Skeng" riddim, and "Tune In" which features Roots Manuva on the same rhythm version as "Poison Dart."







Acid Ragga is the subsidiary of Ninja Tune on which The Bug released a series of singles from 2012-2013. They included the 7"s Can't Take This No More / Rise Up, featuring Daddy Freddy and Inga Copeland, followed by Ganja Baby / Diss Mi Army, which featured Daddy Freddy and Miss Red, and 2013's Hardcore Lover with Warrior Queen.




Ninja Tune released The Bug's 2013, 2 x 10" single, Filthy, with tunes by Flow Dan, Daddy Freddy and Danny Brown.





King Midas Sound - Aroo (2013 Ninja Tune)


2013 saw the release of the single, Aroo, by King Midas Sound on Ninja Tune.



The Bug vs Earth - Boa / Cold (2014 Ninja Tune)



2014 brought about the collaboration with Seattle, WA based drone-doom rocker, Dylan Carson aka Earth for the Boa / Cold single on Ninja Tune.







Angels & Devils, the long anticipated, double LP, follow up to London Zoo, dropped in 2014 on Ninja Tune. The incredibly well crafted, highly conceptualized work is divided into the more ambient / drone vibe on record one and more aggressive, dancehall / grime tracks on album two. This one saw the return of a lot of familiar artists and voices, as well as some different ones like Grouper, GonjaSufi and Death Grips. 






Exit, a 2 x 12" that came out on Ninja Tune in 2014 has two collaborations with Grouper, including the non-LP track, "Black Wasp." Daddy Freddy makes another appearance on the single-exclusive banger, "Blaow."





Zim, Zim, Zim is a single sided 12" that came out on Ninja Tune in 2015 and features the dancehall don, Burro Banton, spitting hot fire on a blazing, buzzing, electronic rhythm.


The 2015 single, The Bug - EGR45-000002 (vs. Sleng Teng), on Elektron Grammofon, is contrived of Martin's four renditions of the digital dancehall riddim popularized by King Jammy's in the mid-eighties. All instrumentation was performed on the Elektron 'Octatrack' and 'Analog Rytm' instruments.





King Midas Sound collaborated with Austrian guitarist, Fennesz, for Edition 1, on Ninja Tune, which also came out in 2015.

The Bug - Box / Iceman (2016 Ninja Tune)



Box / Iceman is The Bug on the grime tip, released in 2016 on Ninja Tune, it features lyricists D Double E on the a-side and Riko Dan on the b-side.





The Bug vs Earth put out a double LP on Ninja Tune in 2016, called Concrete Desert. Atmospheric layers, ambient interludes, dirty guitars, synths and crushing beats make this one a killer all of the way through. JK Flesh provides some raucous vocal accompaniment on the bonus EP, Below Heaven.

 


Bad / Get Out The Way, released 2017 on Ninja Tune, is another next-level, hard stepper, with rude bwoy vocals from Flow Dan on the a-side, Irah & Killa P on the b.







Miss Red released the Under Attack EP on Sounds Of The Universe in 2017, produced by Martin. The Israeli MC rides the bass-in-your-face, distorted dancehall riddim like a champion. 







The following year her LP, K.O., dropped on Pressure. The 12" single of Dagga / One Shot killer was also released in 2018, as well as the digital release, K.O. Dubplates.




The collaboration with Martin and Burial, Flame 1, debuted with the 12" single on Pressure, Fog / Shine in 2018. The creeping, dirty, droning, atmospheric grooves are spine-chilling. The subsequent project from the two, Flame 2, came with the 12" single, Dive / Rain, on Pressure in 2019.

Flame 2 - Dive / Rain (2019 Pressure)





G36 - Floor Weapons Volume 1 (2018 Pressure)


Some non-Martin projects have also come out on Pressure, including Japanese electronic-dub anarchists, G36, with their Floor Weapons Volume 1, in 2018. Vex, by Nazamba, is a dire piece of dub-poetry, backed by an intense G36 riddim, also put out in 2018.







Nazamba - Vex (2018 Pressure)




JK Flesh put out his In Your Pit EP on Pressure in 2019, which included a remix by The Bug. 




2019 saw the Pressure release of Not Modular, by Mr. Mitch, including remixes by The Bug. Miss Red also came with a digital-only EP called The Four Bodies.



2019 proved to be an even more productive year for Martin, who released the intense and personal, ambient, synth laden LP, Sirens, on Room40 as Kevin Richard Martin.




That same year, Zonal, the latest moniker of Martin / Broadrick, this time with lyricist / poet, Moor Mother, put out Wrecked on Relapse Records.






King Midas Sound returned with an LP that year, Solitude came out on Cosmo Rhythmatic. Conceptualized, heartfelt and inwardly reflective words and sounds dominate this futuristic dub-poetry endeavor. 





 

Martin proved himself to be incredibly prolific in 2020, as well. His, seemingly, never-ending streak of digital releases include Frequencies For Leaving Earth Volume 1 through Volume 5 on his digital label, Intercranial Recordings. The label also released King Midas Sound's Solitude Instrumentals and their latest EP, It's Time. Hazy and Sedatives were two more experiments in synth technology released on the label towards the end of the year.



Pressure released The Bug's Pressure Versions and rereleased 2003's Pressure, digitally. The digitally issued, Burn, is a collaboration between The Bug and U.K. grime artist, Rider Shafique, of which all proceeds were donated to I-Dentity - a charitable group in South West England that gives books written by Black authors to children in the community.

The Bug / Onra /Suff Daddy / Schlachthofbronx - Gretchen x HHV (2020 HHV)

"Beat A Racist Down" appeared on a limited edition (300 pressed), Gretchen x HHV 7" compilation released by German label, HHV, in 2020. It was the first in the For The Culture series in support of the Berlin club scene. 




His most impressive output of the year, to me, was In Blue by The Bug & Dis Fig, on Hyperdub. Touting their 'Tunnel Sound', these two musical experimentalists created a work of beauty and depth, textural and layered without losing any of it's raw energy or dance floor appeal.





Blue Versions, the dub versions / instrumentals from that album, has been issued, digitally, on Pressure, in June of 2021.


The Bug - Red Rhythms Vol. 1 (2021 Pressure)


Red Rhythms Volume 1 and Red Rhythms Volume 2 both came out earlier this year on Pressure, as well. These digital releases feature instrumentals from Miss Red's prior material.


Intercranial Recordings has had a busy 2021, as well. The back to back release of White Light and Red Light find Martin building lush, airy, soundscapes, using unconventional saxophone sounds, sampled from his earlier work as well as created fresh, chopped, looped and drenched in effects. Bedroom Loops followed, recorded in the span of a week, in the bedroom, this one is "Music composed horizontally, and best listened to horizontally."




This covers the thirty-something years that Martin has been making noise on records, thus far. Having quite the repertoire, it's obvious that there is a worldwide fanbase, already, but to many who confine themselves to musical deserts (or literal deserts), I don't think that The Bug is a household name, which is a shame because he is an artist who I believe that every music lover should hear. That's why I work some of these records into nearly all of my sets, and they never fail to captivate the crowd.  

With such originality, talent an impressive catalog, there's little doubt in my mind that we'll be hearing his innovative sounds for many years to come. 



Update: The upcoming, long awaited, LP from The Bug, Fire, will be released on Ninja Tune in August, available from Ninja Tune, Bandcamp or Rough Trade. Check out the first tune from the album, "Clash," featuring Logan.











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